艺术家对谈 Artist Talk｜周心语

艺术家对谈｜周心语Artist Talk｜Zhou Xinyu

与你今年参与的展览中频繁出现人像内容相比，“花园哑剧”中更多体现了你对“物”的观察和理解，这是两条并置的创作线索吗？

周心语：这两条创造线索是交错的，我在创作人像内容时并不会把五官刻意地当作五官去刻画，我时常把人物的五官当作普通的“物”来刻画，并且有时我会刻意消解模糊掉很多人物本身的特征，把它还原为一个“物”本身。相应地，我在刻画死物时，我会刻意加入我本人的情绪，或者说是我希望它所体现出来的情绪。比如“玻璃杯里的车厘子”以及“白屋前的背影”两件作品，其实我都想要强调一种在第三方的审视产生的不安定感。

Compared with the frequent portrait content in the exhibition you participated in this year, "Pantomime in the garden" reflects more of your observation and understanding of "things", is this two juxtaposed creative clues? 

Zhou Xinyu: These two creative clues are intertwined, I do not deliberately portray the five facial features as the five senses when creating the content of the portrait, I often portray the five features of the characters as ordinary "things", and sometimes I will deliberately dissolve and blur the characteristics of many characters themselves, reducing it to a "thing" itself. Correspondingly, when I portray dead objects, I deliberately add my own emotions, or the emotions that I want it to embody. For example, "Cherries In The Glass" and "Figure In Front of White House", in fact, I want to emphasize a sense of instability caused by third-party scrutiny.  

玻璃杯里的车厘子

Cherries In A Glass

 90 x 90cm

丙烯、油画棒、色粉、作于木板

 Acrylic、Oil Pastel、Toner、On Wood

2022

 

白屋前的背影 

Figure In Front of White House

 90 x 90cm

丙烯、油画棒、色粉、作于木板

 Acrylic、Oil Pastel、Toner、On Wood

2022

你不同的系列作品在色彩和主体上有着许多差别，如何看待你创作中所涉及的不同方面？

周心语：我的系列之间经常有很大差异，比如“虚设的远方”系列或“玻璃杯里的车厘子”“白屋前的背影”，我选用了很多现成品图像，并刻意地把摄影图像放大失真的效果还原出来，抹掉了人工的痕迹。而在我之前展出的“躺下做梦”系列以及其他一些肖像系列，我又追求绘画感。

这是因为我总会将我对画面的冲动迅速落地实现，希望作品是当下的我的映射，以及是我过去的经验交织出的一种反应。现在回看，每个不同的系列作品都如实且自然地反应出我做这一系列作品时的状态，我很满意这种感觉。同时我永远沉迷于绘画的新鲜与偶然，我不希望在过早的年纪固定下来某种成型的语言，我将会持续探索下去。

Your different series of works have many differences in color and subject, how do you see the different aspects involved in your creation? 

Zhou Xinyu: There are often big differences between my series, such as the "Unreal Distance" series or "Cherries In The Glass" and "Figure In Front of White House", I use a lot of ready-made images, and deliberately restore the effect of magnification and distortion of the photographic images, erasing the traces of artificiality. In my previous "Lying Down and Dreaming" series and other portrait series, I pursued a sense of painting.

This is because I always put my impulses on the picture quickly to the ground, hoping that the work is a reflection of me in the present, and a reflection of my past experience. Looking back now, each of the different series faithfully and naturally reflects the state I was in when I made this series, and I'm happy with that feeling. At the same time, I am always addicted to the freshness and chance of painting, and I do not want to fix some kind of formed language at an early age, and I will continue to explore. 

虚设的远方系列之一_闭上眼

Unreal Distance No.1_Close your eyes

 115 x 90cm

铅笔、丙烯作于宣纸、湿裱于木框

Pencil、Acrylic made on paper framed on boards

2020

 

虚设的远方系列之二_烟蒂 

Unreal Distance No.2_Cigarette Butts

 80 x 80cm

丙烯、油画棒、铅笔、作于宣纸、湿裱于木框

 Acrylic、Oil Pastel、Pencil、Made on paper、Framed on boards

2020

 

虚设的远方系列之三_孤马 

Unreal Distance No.3_Lonely Horse

 80 x 60cm

丙烯、油画棒、铅笔、作于宣纸、湿裱于木框

 Acrylic、Oil Pastel、Pencil、Made on paper、Framed on boards

2020

你的创作节奏是怎样的？

周心语：节奏非常固定，早起但会磨蹭几个小时到九点半去工作室，经过漫长且固定的午休时间会一直画到晚上九点然后结束，有少数时候迫不及待想要见到一张画面完整呈现会在工作室待到十一点。我比较坚信灵感诞生于日常劳作以及劳作后的小憩中。

What is the rhythm of your creation?

Zhou Xinyu: The rhythm is very fixed, waking up early but grinding for a few hours to go to the studio until 9:30, and after a long and fixed lunch break, it will be drawn until 9:00 p.m. and then finish, and there are a few times when you can't wait to see a picture in full and stay in the studio until eleven o'clock. I am quite convinced that inspiration comes from daily work and after-work naps.  

 橘子和橘子皮

Oranges and Orange Peels

50 x 50cm

丙烯、油画棒、色粉、作于木板

 Acrylic、Oil Pastel、Toner、On Wood

2022

 

望，川 

The Mountain is Far Away From Us

 50 x 40cm

丙烯、油画棒、铅笔、作于宣纸、湿裱于木框

 Acrylic、Oil Pastel、Pencil、Made on paper、Framed on boards

2021

在作品中所频繁出现了关于材料的尝试与实验，是什么引起你对综合材料的兴趣？对于材料实验上，目前还有哪些在进行中的尝试？
周心语：对材料实验的兴趣很大程度上来自于数码绘画对我的影响，我在数码绘画中习惯于各种材质堆叠，对肌理以及材料实验的兴趣也是我研究生专业选择版画的一部分原因。目前正在尝试手绘gif和我绘画作品结合，也许是绘画成为投影gif的幕布，也许是别的形式。

What is the frequent experimentation and experimentation with materials in your works that arouses your interest in integrated materials? What other attempts are currently underway for materials experiments?

Zhou Xinyu: Much of my interest in material experimentation came from the influence of digital painting on me, I was accustomed to stacking various materials in digital painting, and my interest in texture and material experimentation was also part of the reason why I chose printmaking for my graduate studies. I am currently trying to combine hand-drawn gifs with my paintings, perhaps painting as a curtain for projection gifs, or perhaps in other forms.
 

九的碎片

Fragments of 'Nine"

120 x 150cm

丙烯、油画棒、作于木板

 Acrylic、Oil Pastel、On Wood

2022

 

容器

Container

 120 x 150cm

丙烯、油画棒、色粉、颜彩、作于木板

 Acrylic、Oil Pastel、Toner、Paint、On Wood

2022

你的本科专业是动画，研究生专业是版画，他们同属视觉艺术的门类下但又有着十分大的跨度，你如何协调这两个截然不同的专业给你带来的影响？

周心语：事实上我经常感到非常幸运我能在本科阶段拥有动画的教育背景，在动画系的学习让我对视听语言有了比较深入的学习，动画系纷繁复杂的课程也让我更具综合能力，在版画系的三年研究生经历，我都更主动地围绕着我所需要的而选择性学习。我始终把动画版画以及其他媒介都当作是我创作的一种手段，我不希望媒介本身的属性盖过我的创作，我希望观者能首先看到的是我表达的，而不是媒介本身。

Your undergraduate major is animation and your graduate major is printmaking, they belong to the same category of visual arts but have a very large span, how do you coordinate the impact of these two very different majors on you?

Zhou Xinyu: In fact, I often feel very fortunate that I can have an educational background in animation at the undergraduate level, the study in the animation department has allowed me to have a more in-depth study of audiovisual language, the complex courses of the animation department have also made me more comprehensive, and the three years of graduate school experience in the printmaking department have been more active and selective learning around what I need. I have always regarded animated printmaking and other mediums as a means of my creation, and I do not want the properties of the medium itself to overshadow my creation, I want the viewer to see first what I express, not the medium itself.

关于艺术家

周心语(b.1997)，出生于浙江兰溪，现工作和生活在杭州。2022年毕业于中国美术学院版画系第三工作室获硕士学位。周心语的艺术创作早期以动画和数码绘画为媒介，近期她更多的以综合材料绘画为她的主要创作媒介。周心语的创作围绕着个人经验以及公共性的实践，但她并不将这些直接转译为画面，而是从其中衍生的情绪生发出创作。

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